In the final days of the summer of 1955, a definitive cultural event rocked teenaged America when screen idol James Dean was killed in a car accident at the age of 24. Having starred in only three major films (Rebel Without a Cause. East of Eden, and Giant), he defined the prototypical rebellious, misunderstood teen and resonated with American youth unlike any actor ever. Despite his minimal time in the public eye,
Artistic Synergy of Baltimore (ASoB) presents a splendid rendition of Much Ado About Nothing, one of Shakespeare’s most well-known classic comedies. Most are probably familiar with the material already through literature class, seeing it performed elsewhere, or from the various movie versions (most notably the 1993 version directed by Kenneth Branagh), but for those who are not familiar, it can be summed up briefly as two love stories intertwining with misdirection,
O-ho the Wells Fargo Wagon is a-comin’ down the street! Oh please let it be for me! O-ho the Wells Fargo Wagon is a-comin’ down the street— and I know, I know, I know what it must be! Why it’s bringing something special— a classic production— just for me! And all of Charm City as Third Wall Production presents The Music Man as their winter stage offering of 2018. Directed by Mike Zellhofer with Musical Direction by Andrew Zile and William Zellhofer,
What do you want, Baltimore? Do you want the moon? Just say the word and George Bailey will throw a lasso around it and pull it down. Third Wall Productions seems to think that’s a pretty good idea. So they’re going to give you the moon— in the form a musical adaptation of Frank Capra’s Bedford Falls icon, called A Wonderful Life. With Books & Lyrics by Sheldon Harnick and Music by Joe Raposo,
Now, thou art what thou art, a production of Romeo and Juliet. Though this production, at The Green Globe Theatre (Baltimore’s only producing eco-friendly theatre) is beyond the simple notion of star-crossed lovers meeting in fair Verona. Of course, one must be full well in all five wits to endure the length of this production, but tis worth the patience and endurance for the cinematic elements and uniquely conceived approach to placing the star-crossed lover’s tragedy in WWII Nazi occupied France circa 1944.
The papas! The mammas! The daughters! The sons! They’re all there as tradition would dictate— but! This isn’t your grandfather’s Fiddler on the Roof happening as Third Wall Productions approaches its one-year anniversary! Directed by Lance Bankerd, with Musical Direction by Edward Berlett, this reimagined production of a time-weathered classic is an innovative look at how the flower that blooms in adversity is the rarest and most beautiful of all. Pulling the production out of the dreary,
We’ve all got a little more homework to do when it comes to life. Learn not to judge, learn not to label, learn to be yourself! That’s the message that sixteen amazing young performers are preaching at Third Wall Productions and their current presentation of 13: The Musical. Directed by Kali Baklor with Musical Direction by Eliza Van Kan, this up-tempo life lesson of a musical is full of heart and teenage spirit and guaranteed to bring you back to middle school quicker than you can say “popular.”
Middle School nostalgia comes flooding back to the senses with Scenic Designer and Artist Amy Rudai and Set Designer Jordan Hollett,
He’s the coolest kid in school and he’s never done— the T. The T? The Tongue! Bret wants to give Kendra The Tongue! Oh my god, you guys! Heading into the homestretch of our TheatreBloom exclusive interview series, “A Little More Homework” we sit down with Jake Schwartz of Third Wall Productions’ 13: The Musical to get the “t” about “The T.”
Thanks for sitting with us, Jake, would you give us a quick introduction to yourself and we’ll get started?